Blonde

Dominik throws everything at the screen, but characterisation is weak and the dialogue comes across like psychological reports to the audience. The presentation of Monroe as perpetual victim is unconvincing, as if concocted by people with no insight, motivated by their own resentment or their own anxieties. Perhaps they would say that this isn't about “Marilyn” but about her symbolic or cultural meaning, but in that case, why bother to make this film, when MULHOLLAND DRIVE already exists?

Dominik said in an interview that he wasn't interested in any of Monroe's talents, and boy does it show. We're left with a character study of half a character, a flimsy excuse to parade misery around on screen for three hours while making shallow commentary on it. And it still might have been worth it, had any of the misery depicted actually have happened to Monroe! Armas acts her guts out, but the amateur writing and chaotic presentation lets her down.

A textbook "pretentious auteur" movie: pairs an extremely effective and mesmerizing style with a stunning lack of empathy. As a film, BLONDE matches the stereotype of Marilyn--beautiful but shallow--that you'd think it would try to avoid. Too bad, because de Armas gives the performance of her career.

The screenplay is one noted misery porn and daddy issues, with the occasional addition of exploitative sex. Ana De Armas looks great, but the accent is distracting, and her overall performance is way too melodramatic. A shame too, because visually there is a lot to like, and the score is also really good. I think a more nuanced performance by a different actress might have been able to elevate the material. Not entirely bad as is, but mostly it's just an overlong slog to get through.

torture porn.

I like the synth soundtrack, the cinematography is occasionally stunning, and the little section of the story where she's part of a throuple is emotionally engaging. However, the script and directing are so misguided that it veers into unintentional comedy. The choppy editing doesn't help anything. Also, it's way too long for how one-note it is. I can appreciate what the movie was trying to do but it wasn't executed properly.

Ana de Armas is as brilliant as I expected her to be but her powerful efforts are regrettably let down severely by an unnuanced and poorly judged screenplay.

Dominik joins a long line of men hitching their wagons to Marilyn's. Blonde isn't a BAD movie, just three hours of deeply unpleasant drudgery, and not in a way that makes you feel you get something back for it. Good visuals and performances can't change that this movie is its own commentary, with each and every piece of dialogue projecting a pretty shallow and repetitive analysis of the role of Marilyn but never actually giving a shit about the person it claims to be about.

Way too melodramatic and Ana de Armes overacts. The only positive thing i can say about it is that every time you think ‘it can’t get any worse’ it tops itself and gets worse

there’s a bit in this movie where someone says ‘oh, miss monroe, don’t you know anyone would give their right arm to be you’ and it’s a really good deal because you wouldn’t be you, you’d be marilyn monroe, and you’d still have both your fuckin arms

How was this film so sleepy and yet so frustrating? Ana de Armas was way too good for this. This feels like an active prank by Andrew Dominik to lure us into what could've been something powerful but instead it's a breathy slideshow that leaves no power to Marilyn Monroe. Headlining, but never leading. Featuring, but never starring. Read the book instead; it invokes the point of Stardom As Puppetry better than this could

(LOOK WHO'S ABORTING)

Ana was amazing, full stop. Dominik was inconsistent. Some beautiful shot composition, contrast and inventive storytelling. Certain scene transitions were powerful, same w/ imagery. Then he overdirects, suffocating what story is there, which doesn't track well with the fact that there's no fucking reason this movie needed to be 166 mins. Great soundtrack. Don't think he needed both the aspect ratio gimmick AND switching colour schemes. Daring film, but also too often repetitive and overwrought.

Ana de Armas is superb and might as well win the Oscar, but the movie is a bit overambitious and exploitative.

If you watch this as a horror movie - it's effective. It's about horrible studioheads using rising stars, abusive relationships, abortions and loveless lovers. Norma Jean summons forth Marilyn in a shocking scene infront of a makeup mirror. The closest film that it reminds me is Mulholland Drive, but it's nowhere near as complete, mysterious and masterful as that film Ana de Armas is a revelation in this film.

Armas looks great and tries her best, but she is trapped in a film that requires very little of her other than to rotate between shallow states of sadness and misery. The warning signs were present in the opening sequence, which presents an eye rolling 'psychological' account of childhood trauma, and Dominik continues along these lines, robbing Jean/Marilyn of sufficient agency, and ultimately conforming to the tragic view typically depicted rather than offering something new.

Was all ready with snide remark about how “Candle in the Wind” said more in 4 minutes than this does in 160. But even early scene with mother in car shows it is better than that. Much craft and creativity on display but also very on the nose & gratuitous. All the fetus stuff is emblematic of what doesn’t work. The Laura Palmer music cue at the end (of otherwise scintillating score) is another great example of how dumb it can get.

Overwrought, bloated vehicle for trite analysis (fame as a surrogate for love, etc.). De Armas plays Norma Jeane with the same stagy, self-effacing, compulsively seductive affect as she does Marilyn, undermining the crucial idea of Monroe as construct, and the character never offers any artistic or personal input anyway, only moved by psychiatric determinism and the wills of others. The aimlessly stylised direction is comically intent on establishing only the most unequivocal symbolism.

Well, it reminded me of Mulholland Drive by David Lynch, except it was not that capturing. And it was long like nothing. I liked the mixture of B&W and colour pictures though. Director did not build any characters, more the mood. Haze.

What begins as a fractured attempt at biography ends as a horror film, but maybe that’s what it was all along. It might be possible to tell Monroe’s story in a way that makes her more than a vessel for sadness and an object of abuse, but that’s not the film Dominik set out to make. Blonde is both too much and not enough. It’s a fever dream nightmare that visits the worst the world has to offer on a woman who never really had a chance, but the story it tells never rings false.

10 pts goes only to the actors who did their best with this rotten story; they acted well. I’d give them more but don’t know whether or not they realized they were complicit in some opportunistic incel posthumously smearing the tragic & misunderstood woman who snubbed him long after she has any recourse to defend her reputation. What a loser douchebro movie.

whether everything happened exactly like that is of course questionable nevertheless the movie convinced me and Ana de Armas as Mariliyn Monroe, strong power and performance ..

okay movie

this is a great fucking movie

I'm aware this is a fictionalised biopic/drama film about Marilyn Monroe, a pop culture enigma of sorts. I know the film gets some low ratings and reviews due, mostly I believe, to peoples frustration with how dark and gruelling some parts of the plotline are. I watched this knowing that to be the case and knowing its not 100% based on a true story. I think it has a good sort of dream like quality to it at times and the main performance by Ana DeArmas certainly isn't at all bad in my opinion.

not gonna lie, I couldnt actually finish this movie, maybe the second half gets better..

While “Blonde” offers a fresh take on the biopic genre and de Armas' performance is exceptional, the uncomfortable moments and questionable decisions in the script, combined with the film's queasy suspicion of using Marilyn in just the same way she was exploited in real life, prevent it from being a truly great film.

Ana De Armas is fantastic, but this is way too long and not compelling enough to justify the length.

Ana de Armas is really good in it, but it's just too bad the film around her feels so unbearably uninteresting and bloated.

I felt quite similar watching this as I did about Elvis. That is to say there's no subtlety or nuance here, it's so overwrought, it's overlong, and some parts just leave you rolling your eyes. Large portions of it are complete fiction made up out of whole cloth, too. Despite that, it's almost saved by a brilliant central performance by de Armas who is completely incredible inhabiting Monroe. The writing and presentation are just too bad to save it, though.

It is an incredibly beautiful film, but some of the fictionalization is problematic.

a sad life distilled into a loathsome film.

It's nice to see that in the era of woke-ism there are still filmmakers brave enough to perpetuate the archetype of the sad, broken, helpless woman at the mercy of the male world

The constant dread and horror, exemplified by a persona that puts her further into it rather than out, that leaves this star paralysed is deeply (and routinely) felt in this biopic that stands out in the subgenre, feeling more like an expressionistic, slightly surreal horror (opening shot is reminiscent of Eraserhead). It'd still be difficult for this pained story to go down easy, though it's immensely helped with confident direction, emotive music, and a stellar lead performance.

Made me feel a little dizzy.

Like a collaboration between David Lynch and Pablo Larrain, if lacking their usual cohesion and clear sense of purpose – still an impressive subversion of the typical biopic in many ways; like Dominik’s debut effort CHOPPER it centers on an uncanny, game-changer performance, in this case Armas, whose recreation of MM is an absolute knock-out; it’s her show all the way, and she provides a consistent sturdy anchor for the film when it threatens to wander off into abstract pretensions.

LA33normajean+mominsane/abuse-triesdrown+hertoo+52+funnyshelooksbetterthanMMbutnotasMMlolandaccentweirdchoice+weirdthreesomewithchapelintwins+readmostofthisinaccuratebutseemslikeperceptionetc+55+lmaoshesbeentryingtheeyesthing+newbabylikedontabortmethistimelol-butfallsonbeachithinkcuzheelslol+singingithoughtitwasactuallyMMlol+62+lolBJ+probshouldapaidmoreattentiontotheendlol

Andrew Dominik qui jubile à l'idée que les spectateurs soient agacés en regardant leur "icône" se faire prendre dans un bureau par un producteur, ou par deux amants (insupportables) à la fois. C'est pas juste un peu puérile comme attitude ? Ana de Armas fait ce qu'elle peut, même si son rôle est l’ordinaire caricature de la pleureuse déprimée puissance ultime. La musique sauve le film.

ana de armas é magnética, mas que filme tenebroso

31.10.2022 Ana de Armas'ın oyunculuğu harikaydı. Bazı sahneler çok uzun olsa da hikaye akıcıydı.

I get why people hate this but this is depressingly satisfying oh my God.

Just... boring.

Granted, it's not as graphic as the backlash led me to expect, but there are plenty of sleazy moments. How could you film a fictional scene of JFK raping her and still say you believe this is a good portrait of her (and JFK probably didn't deserve this either). But it's really more cruel and joyless than graphic. Around the two hour mark, I'd pretty much grown numb to watching her constantly suffering, and realized how slow the plot was moving.

Bu senenin en kötü biyografi filmi. 2.Spencer vakası. Aslında film iyi başlamıştı. Filmin ortalarında, o salak plaj sahnesi kadar. Küçük yaşta, babasız, aklını kaçıran annesiyle yaşayan Norma Jean, yetimhanede büyür. Bu arada Hollyvood, güzelliği ile Marilyn Monroe'ya dönüşür. All About Eve ile çıkışı parlayan yıldızımız, hayatındaki ilişkileri de hüsrana uğrar. Ana De Armas'da Oscar'a oynuyor. Filmin sonunda, Babayı buldun. Kahrediyor hayat beni. Acıların kadınıyım.

As if being murdered wasn't enough, they had to make a film and piss on her grave as well. What is this film's purpose? Anyone who doesn't know Hollywood is a degenerate cesspool of whores and pimps is asleep or mentally challenged. So why Marilyn?